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THE LADY OF THE 

BLACKFRIARS 

OR, THE OLD PLAY 



CLINTON ROSS 



A 



CLINTON ROSS 

BiNGHAMTON, N. Y., U. S. A. 




Class. 
Book. 



K^L: 



Copyright }]°. 



COPYRIGHT DEPOSIT. 



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7 



THE LADY OF THE 

BLACKFRIARS 

OR, THE OLD PLAY 



BY 

CLINTON ROSS 



H 



CLINTON ROSS 

BiNGHAMTON, N. Y., U. S. A. 






COPYRIGHT 1909, BY CLINTON ROSS 

All Rights Reserved 

Title Registered for Copyright, February 11, 1909 

Published September 18, 1909 



©G!.D J 71 4r, 
SEP 17 1909 



In the Hills, at Binghamton. C. R. 

Go, little Book, 

And tell a Tale, — 

Untold, 

Of Shakespeare's Play. 

The Mimic World 

Was Theirs 

And all It Knew. 



It delighted the servants of My Lord Chamberlain to style 
themselves Black Friars, both because the first theatre of 
most repute stood in The Blackfriars, and because of the old 
monks, who, once, like their light successors, had been 
housed in that locality of London. And as we know in this 
later day, — and as men thought in Elizabeth's reign, — they, 
too, served the grace and splendour of Providence. 

Now it chanced, — as I have found in the old manuscript 
of Sir Robin Fitzmaurice of River Avon, — that a certain 
Countess was enamoured of plays and players to such an 
extent, as Sir Robin's Book shows, as to be styled the Lady 
fthe Black Friars, — a title I find elsewhere (on what 
authority I will not state, as these Shakespearians are often 
such implacable fellows) first given her by Master 
Edward Alleyn, England's greatest player, who out of his 
earning endowed as devoutly as any Friar of the Old Black 
order, the splendid College at Dulwich which stands to-day 
before God and man as evidence of his piety, — his true love 
of his fellows. No player that I know has given more, — to 
his Age the consummate acting, — to posterity a living gift. 

This Book, after a long while dallying with Shakespeare's 
younger days, — tells the Tale of the Lady, following much 
the Book of the Novel. 



PROLOGUE 
A Forest in Warwickshire. 

Anne Hathaway and her husband in the Forest. She is 
loading Play-Books and a luncheon into a hamper. 

ANNE— You killed the deer. 

SHAKESPEARE— And now to London, and the Bur- 
bages. 

ANNE (putting play-books into hamper) — Dear thoughts 
and verses of my Lover, — bear him merrily on the road! 
Protect and guide him! Bring him fortune and cheer! 
Thoughts that grew with him in Arden, — rise and hold a 
World ! Mine and His. 



REFERENCE NOTES: ' 

Argument: — A certain Countess becomes enamoured of 
plays and players and is styled by them the Lady of the 
Black Friars. 

Note first: — The first principal play-house in Elizabeth's 
reign was in the Blackfriars where in old times there ha^ 
been a monastery of the black order of Dominicans. The 
players sometimes styled themselves Black Friars. 

Note Second: Act I. Scene II. The young Shake- 
speare, inspired by his love of masques, church festivals, and 
the plays produced in inn-yards, and at Kenilworth, and 
other mansions, joined the players in June, 1586. The fol- 
lowing February Mary of Scotland was executed at Fother- 
ingay. It is related that all who could resorted to Fother- 
ingay as to a festival, and mummers, mountebanks and 
players to amuse them. 

Note Third : — Act I. Scene II. The licensed players, the 
Lord Chamberlain's Servants, were required, monthly, or, 
frequently, to present plays at the chapels of Greenwich or 
Whitehall Palaces, at functions. The players were con- 
versant with the Court, and its gossip. For authority see 
" Hamlet," and the mimic play. 

Note Fourth: — Act II. The great mansions of the period 
were on the Strand, with entrances from barges on the 
Thames. Fops and courtiers often brought plays to the 
players. 

Note Fifth: — Act IV. The request made by Elizabeth 
to produce a play on Queen Anne, her mother, is a historical 
tale. 

Note Sixth : — The play would show in a series of stage 
pictures the real career of Shakespeare; while, with Act II, 
the Tale of the Play — Mad Countess predominates it. 



DRAMATIS PERSONAE 

Sir Robin Fitzmaurice, of Avon, a courtier. 

Richard Burbage, player and manager under the Lord 

Chamberlain. 
Master Shakespeare, a player, dramatist and poet. 
Sir Walter Raleigh, guardian under the Crown of the 

Countess Ylverton and Severn. 
Patch, an old clown attached to the Ylverton household. 
Bartholomew, a page of the same. 
Barby, a servant of the same. 
Jem Fairbrother, a groom of Sir Robin's. 
The Earl Wimbledon. 
Players, courtiers, rustics, etc. 

Ino, Countess Ylverton and Severn. 

Dame Shepperton, her housekeeper and duenna, 

Elizabeth, Queen of England. 

Julia Throgmorton (afterward Lady Fitzmaurice). 

A Maid-of-the-Inn. 

The Fairy Queen (in Act. V.). 

A Hostess. 

A Flower-Girl. 

Countess March, a Lady-in-Waiting. 

Anne Hathaway Shakespeare (in Prologue). 



THE ACTS 

The Prologue: A Forest in Warwickshire. 

ACT I 

The Prelude. The Endangered Lovers. 

Scene I. An EHzabethian road-inn. 

Scene II. The stage, chapel, Whitehall Palace. 

ACT II 

The Play-Mad Maid. 

Scene I. An interior, Ylverton House, Strand. 

Scene II. The same, the same evening. 

ACT III 

The Flower-Girl of Blackfriars. 

Scene I. A playhouse, Blackfriars, in the Blackfriars. 

ACT IV 

The Queen's Poet. 

Scene I. The interior, Ylverton House Strand (as Act 
II.) 

ACT V 

The Roses. How Lady Ylverton came to Stratford 
Church. 

Scene I. The interior, Stratford Church. 

There are : Five acts; seven scenes; six stage-settings. 



THE PLAY BOOK OF 

THE LADY OF THE BLACKFRIARS, OR, THE OLD 

PLAY 



ACT I 

The Prelude. The Endangered Lovers. 

SCENE L— (An interior of an Elizabethian road-inn on 
the road from Fotheringay. Windows and door rear. A 
fireplace right, with candles in sconces and mugs on the 
mantle. Half over-turned benches. Through the windows 
a wild snowy landscape, and falling snow. Enter Sir Robin 
supporting Julia Throgmorton, and followed by his groom, 
Jem Fairbrother. They are as if from the saddle, and 
covered with snow and mud.) 

SIR ROBIN— Queen Mary of Scots is dead, dear. And 
we who loved the murdered Queen must run for our lives. 
But cheer ye, dear Lady, there's the Sea, and Virginia, and 
kindly savages. We are in no worse plight than a boy of 
our shire whom I met on the road from Oxford, — a queer 
mad boy with a wife to think about, — on the way to London 
to join Burbage's players. 

JULIA — And his name? 

SIR ROBIN— Will Shakespeare. 

JEM FAIRBROTHER— It's a long cold night; and it's 
more than frostish, sir. 

(A drunken song from left.) 



10 THE LADY OF THE BLACKFRIARS 

The Queen has gone to Heaven. 
The Queen has us seven. 
JEM — There's more sack than rhyme in reason. 



Song: 

The Queen has gone to Heaven. 

The Queen has us seven. 

Players zve, — 

Ever free. 

Flogged some days. 

For poorest plays, — 

Hissed and cheered and rhymed. 

Players we. 

To Mary free. 

In Heaven! 

Oh Queen of mine. 

Your play is done. 

And life is but a stage. 

Players zve, — 

Ever free, — 

Servants of the Crozan. 



(Enter Burbage, Shakespeare, and the players, in various 
states of intoxication or weariness.) 

POT-BOY (with them)— By Holy Mary, three more 
travellers ! 

SIR ROBIN (advancing into the fire-shine) — You are far 
from London, Master Burbage. 

BURBAGE— By the Lord, Sir Robin! We have been 
seeking sight-seers' pence; no tragedy but will bring your 
tragedian. 



THE LADY OF THE BLACKFRIARS ii 

Song: 
A man and his lass 
May give us a glass, 
'An' he will. 
'An' he will. 

SIR ROBIN— That he will. (And to Julia.) They are 
players of the Blackfriars. 

JULIA (acknowledging and saluting them) — Gentlemen 
I have met at Court. But have you with you one, Master 
Shakespeare, of whom Sir Robin has spoken. 

SHAKESPEARE (advancing and bowing deeply) — 'Tis 
I, Madam. Sir Robin, my salutation. The land is a-sad 
with tragedy. A jovial cup to the lips, and it reached to 
our heads, — but mouthily. Sir Robin, — mouthily. 

SIR ROBIN — Ah, if we might travel in your company? 

SHAKESPEARE— We see naught to hinder. Eh, Dick? 
(to Burbage.) 

BURBAGE — Justices ! Justices. 

SIR ROBIN — At the least you will breakfast, — with my 
Lady and me. 

BURBAGE— Lady Fitzmaurice? 

JULIA — Yes, Lady Fitzmaurice. Justices, said you. Mas- 
ter Burbage, we go to the Queen in London. So why indeed 
may we not have so good an escort? 

BURBAGE— My Lady, you shall have. 

JULIA — But as players, Master. Come, sir, lend me out 
of your trumpery, a page's dress. 

SHAKESPEARE— Dick, these be Warwickshire folk; 
and once Sir Robin helped me on the London road. 

BURBAGE (after hesitating) — I grant it. I grant it. 
And why — ? Sir Robin, life is a game. If your Lady find 
favour of Her Majesty, we shall have won another good 
patron. And they relate that Her Majesty has pardon, — 



12 THE LADY OF THE BLACKFRIARS 

full pardon for many. The scaffold is drunken with blood, 
and must be sobered. Come with us, sir. And you. My 
Lady. Madam, in so perilous a time 'tis well to wear dis- 
guise, and if your Ladyship will deign you may have the 
player's dress. 

JULIA — I have played the boy ere this. In sooth I shall 
like it. Then, Sir Robin, you can no longer deceive me with 
your wooing. 

BURBAGE (to the players) — Gentlemen, these be ours. 
For why should not we who beg of a patron, give to a 
patron. 

(Daylight has been gathering through the windows, dim- 
ming the candles and fire-shine. Enter Hostess who 
curtesies. Julia starts to follow her out right.) 

JULIA (at door right, bowing to all) — Good-morning. 

(She followed by Hostess goes out right. Enter Inn- 
Maid left. The players and Burbage, yawning, and drowsily, 
go out left. Inn-Maid advances to mantle above fire-place 
and takes down the mugs, one by one polishing them. 
Shakespeare, Sir Robin and the Inn-Maid are now alone on 
the stage.) 

INN-MAID (polishing a mug) — 
Shine, shine, shine. 
For lips and zvine. 
Shine, shine, shine. 
Ye imigs of mine. 

SHAKESPEARE— Sir Robin, does not Her Majesty, be- 
ing Majesty, know mercy. I've fallen much since I saw 
you, into consideration of that nature we call " human." 
Stir the heart of Majesty to mercy, and it shall be. I've 
had from Kempe, who is a clown at Court, that the Queen 
is doubly distraught over your Lady's desertion, and that she 
then called out that all had abandoned her. And I know 



THE LADY OF THE BLACKFRIARS 13 

what all gossips declare, that now her cousin, the Queen, is 
dead, Her Majesty will give favour to Queen Mary's friends 
rather than her enemies ; that in sooth is the nature of erring 
women and of most potent queens, who are but woman- 
hearted under crown and jewel. 

SIR ROBIN (rather jeering him)— How wise you have 

become ! 

SHAKESPEARE— Must I not know a muse of fire, man, 
—must I not woo her ever? For believe me, the Muse 
lives, as truly the Boeotions knew. But (laughing) have 
not I a wife? I tell you truly. Sir Robin, that My Lady, 
coming penitently to the Queen, might secure her pardon, 
and your own, which provokes me to the plot. (He calls to 
the Inn-Maid) A pot of Canary! (Inn-Maid curtesies, and 
goes out left.) You go on to the danger of the road, Tower 
and block. Should you escape these, you have the strange 
adventures of strange countries. Now Cupid, Lord of Love 
and Chance, brings you to us on the road. And it chances 
that we play Wednesday, week, before Her Majesty at 
Whitehall. Suing for audience, your Lady would be ar- 
rested, and cast to oblivion. Coming on the Queen un- 
awares, — from our chests, — a page become a woman, she will 
cast herself before Her Majesty, with "Forgive? Forgive, 
Majesty of England." 

JULIA (at door right beyond fireplace) — Robin! 

SIR ROBIN— Julia, if the rector of Saint Mary. South- 
wark, be a true man, we shall be married there. 

JULIA — An' they never catch us ! 

SIR ROBIN (embracing her) — An' they never catch us. 

(Enter Inn-Maid left with pot of Canary, which she 
places on a bench, and resumes her scrubbing of the mugs.) 

JULIA — I heard Master Shakespeare, at the door-sill. 
We even will do as he says, Robin. 



14 THE LADY OF THE BLACKFRIARS 

SHAKESPEARE— My word on it, Sir Robin,— going to 
the Queen you shall have pardon, — I say you shall. Who 
am I ? At least, sir, a player-king, and all the world's a 
stage. Listen to me, man, going to France, you leave Eng- 
lish fortune. And why to Virginia and the barbarian world 
when your Lady already has her fortune made with the 
Queen. 

SIR ROBIN— But the Tower?— the block? 
SHAKESPEARE— You shall have naught of these, I 
promise you. 

SIR ROBIN (taking his hand) — I take your promise, 
Master King. 

INN-MAID (singing at her work) — 

Love and life and cheer, — 
Freedom from fear! 
Love and life and cheer! 
So shine, shine, shine, 
Ye pots of mine. 

CURTAIN 

SCENE IL—(A stage, chapel, Whitehall Palace. The 
real audience look through a mimic stage onto the seats 
arranged before it for the mimic audience. On the mimic 
stage as the curtain rises are seen at right, so as if slightly 
hidden from mimic audience, Shakespeare, Sir Robin, Julia, 
in a Court gown, and Burbage. Music, and a procession 
of musicians, with viol and tabor, enter at broad doors rear, 
preceding the Court, the Queen, — who seat themselves, first 
the Queen on a raised seat, then the Court, — then at rear 
the musicians.) 

JULIA — Hov'/ fine their struts and their talk, Robin. I 
know them all. And the poor Queen, — God defend us, 
Robin. Did we not try to save Queen Mary because she 



THE LADY OF THE BLACKFRIARS 15 

seemed our Queen's heiress? Shall the Queen slay us for 
brave thought and deed? Farewell, Master Shakespeare. 
Thou hast been a good friend. 

(Julia advances through front of the mimic stage into the 
mimic audience, and kneels before the Queen.) 

SHAKESPEARE— If she wins, I win, and am player- 
king. Who cares for England, shall in England have his 
care. And see, Burbage, the Queen observes her! Good 
Dick, my play! Tragedy shall it be, or comedy? 

JULIA (before Queen Elizabeth)— And I have returned, 
Madam. 

SHAKESPEARE— Tragedy, oh Burbage ! 

BURBAGE— Tremble not so, Will. 

JULIA — And I have returned. 

SHAKESPEARE— Poor Lady ! How poor a play-maker 
I! 

JULIA (before the Queen) — I have returned. 

SHAKESPEARE— Mercy dwellest thou in queen's hearts? 
Is this poor humanity all cruel and unforgiving? Yet, oh 
Burbage, Majesty is in our Elizabeth. 

THE QUEEN (at last)— Girl, have you dared to come 
back to an old woman who loved you? 

SHAKESPEARE— Oh, Majesty of England! 

(The Queen, leaning forward, raises Julia, and motions her 
to a seat at her left, and perceives Sir Robin, who has stepped 
out from front of mimic stage into the mimic audience.) 

THE QUEEN— Come hither, Sir Robin ( and to the 
Court.) These two lovers, now wedded, served my murdered 
heiress, and served me, — England. 

(Then with a great voice to the Lord Chamberlain) On 
with the Play, Lord Hunsdon. (The Lord Chamberlain then 
raises his hand a signal to Burbage on the mimic stage, 
when the players enter right and left of mimic stage for the 
Play.) 



i6 THE LADY OF THE BLACKFRIARS 

SHAKESPEARE— The Play,— my Play has been played 
at Court. 

And all the World z^as young anew. 
And all the Earth of Sparkling dezv. 

BOY (interrupting him) — You are wanted in the 
prompter's box, Master Shakespeare. 

(The Prologue in the mimic play advances to the front 
of the stage, while the Court musicians in the mimic audi- 
ence strike up. The mimic audience is in attitudes of ex- 
pectancy, but some courtiers and ladies titter and talk.) 

CURTAIN 



ACT II 

The Play-Mad Maid 

SCENE I. — (Ylverton House Strand, — an interior, 
stately, and pretentious, but dilapidated. Lady Ylverton, 
shabbily gowned, on a bench, the floor about her scattered 
with play-books. She has a book on her lap, and is turning 
the leaves. On a table at the right is more books, a tankard, 
glasses, and riding gloves.) 

LADY YLVERTON— It is my play now,— this Twelfth 
Night. Oh, World! Oh, World! Patch. Yes, I have 
made of Twelfth Night a better play than he made it, — 
almost as good a play as my own tragedy of Helen of Troy. 

PATCH (entering right) — I am here. Minion. 

LADY YLVERTON— Patch will you suffer me to re- 
ceive the players from Blackfriars dressed as a gentleman in 
some of my Lord's, my Father's clothes? He had no more 
figure than I. 

PATCH — When your Lady turns gentleman. 

LADY YLVERTON— No, no, no, dear Patch. 'Tis not 
that, but here's business matters to be done. 

PATCH — Play-books and stories ! Od, zooks. Lady, you 
are son of the late Lord. As he had no son, art thou both 
Earl and Countess Ylverton. So why should I say nay? 
Yet I would wear a sword by my side, to ask respect. 

LADY YLVERTON— I, too, shall wear a sword, like 
Earl Ylverton. 

PATCH — As Earl Ylverton descends female by grant of 
King John, I see no denial to your right. 

17 



i8 THE LADY OF THE BLACKFRIARS 

LADY YLVERTON— I shall bear the name of,— why not 
Lord Ylverton ? — the brother I dreamed of, and never had, — 
that Harry of Ylverton and Severn. By the Lord Harry, 
I'll be Earl Harry. As God granted me no brother, he shall 
have in me both brother and sister. They leave me here as 
I am, — alone. They are paid, — both Queen and rascal clerks. 
But they will talk if I so appear, and take me as mas- 
querador, and, — oh, shame ! — find me out. But the Play ? 

PATCH— The World's the World,— not play-book. 

LADY YLVERTON— As the World's the World shall 
Earl Ylverton carry Thomas Carstars' play of the most 
delectable Lady Helen before Master Burbage, — when he 
arrives. But care you well, Patch, Dame Shepperton is 
woman. She must not know, nor Darby. You gossip, 
Patch. 

PATCH— Over sack. Lady. 

(Lady Ylverton goes out hurriedly right. Patch stretches 
himself on a bench and yawns. After a while a knocker, 
and then a gong. Patch rises, stretches himself, and opens 
door rear on Burbage, and Shakespeare. They seat them- 
selves. Presently Lady Ylverton enters right, attired as a 
courtier, nods to her visitors, and selects two books from the 
pile on the floor.) 

LADY YLVERTON — There are here two manuscripts, — 
one I hold highly. The other I do not so much care about. 
One, sir (to Burbage) is the " Most Tragical History of 
Helen of Troy." The other I do not care for so much is 
called "Twelfth Night." 

BURBAGE — There are so many gentlemen bringing us 
plays, sir. 

LADY YLVERTON— This, sir, is written by the Vicar 
of Ylverton — Forest — on Thames, — an honest fellow whom 
I'd not have the Muses destroy. 

BURBAGE— I have no time. 



THE LADY OF THE BLACKFRIARS 19 

LADY YLVERTON (dismally)— Yet, sir. 

PATCH (excitedly) — Know you, rascally knave of a 
clown and player, that you address the Earl Ylverton and 
Severn. 

BURBAGE — Lord help me, I never heard of Your Lord- 
ship. I will refer you to our reader and poet and dramatist. 
Will ! The Earl Ylverton, Master Shakespeare. 

LADY YLVERTON— But what, pray, is who I am to do 
with two good plays? 

SHAKESPEARE — Ah, nothing, my Lord. You give me 
exceeding pleasure. 

LADY YLVERTON— Then look at these ! 

SHAKESPEARE— Written by you? 

LADY YLVERTON— Written by my sister. 

SHAKESPEARE— It says here by "Thomas Carstars." 

LADY YLVERTON— She stole the name of our Vicar 
of Ylverton. 

SHAKESPEARE (scanning a book) — What have you 
here? This is my Twelfth Night. 

LADY YLVERTON— Lord help you, sir. 'Tis your 
Twelfth Night. 

SHAKESPEARE— The copy I left on the bench in the 
play-house after Burbage had refused it. 

LADY YLVERTON— And my sister's servitors, ordered 
by her, stole it. Oh, sir, would you cast the Muse aside 
because men mock her? And I have studied it, — so that I 
know every line of Viola. You will notice I have changed 
the part which you did poorly. I crave the privilege of 
showing Mr. Burbage that the Play can be acted. Turn, 
sir, to Act HI, Scene L and read the Clown. (And to 
Viola). "Save thee, friend, dost thou live by thy tabor?" 

SHAKESPEARE (answering as Clown)— " No, sir, I 
live by the Church." 



20 THE LADY OF THE BLACKFRIARS 

LADY YLVERTON (as Viola)— "Art thou a Church- 
man? " 

SHAKESPEARE (as Clown)— No such matter, sir; I 
do live by the church; for I do live at my house, and my 
house doth stand by the Church." But (dropping the part) 
you are a player my Lord. 

LADY YLVERTON— Then will Mr. Burbage essay 
"Twelfth Night" with me as Viola? 

SHAKESPEARE— He will,— he shall, my Lord. 

LADY YLVERTON— ril pay for it, Burbage. Here is 
coin (taking out a purse.) Coin minted by the late King 
Edward, but gold of the realm. 

BURBAGE — You shall have your will, my Lord. 

LADY YLVERTON— At it then. I say, at it ! 

BURBAGE— This day, fortnight. 

LADY YLVERTON— Very well. Master Shakespeare, we 
of Ylverton stole your Play, and we return it to you. But 
of myself, — well mention my name, as " Thomas Carstars," 
if it please you. Ah, sirrah, I have studied your play to the 
tune of birds and the swaying flow of Thames. 

(Darby throws back door rear, and enters, but pauses with 
uncontrollable laughter at sight of his Mistress in courtier's 
clothes.) 

DARBY (at last)— Sir Walter Raleigh, Lady Ylverton's 
guardian. 

(Sir Walter pauses at door in astonishment at the sight 
of the strange youth. Lady Ylverton snatches a riding glove 
from the table, and tosses it in his face.) 

LADY YLVERTON— Yes, " Lord Ylverton," Sir Walter. 
And the account-books of an estate? 

SHAKESPEARE (in amazement, as Raleigh's hand goes 
to his sword) — Sir Walter this boy is player, " Thomas Car- 
stars " by name. And as players are lords, kings, ladies, 



THE LADY OF THE BLACKFRIARS 21 

imagines himself " Lord Ylverton." Come, Tom Carstars, 
pout not so, — put up your sword ! 

SIR WALTER — But he has used the name Ylverton, — 
of which I am guardian. 

LADY YLVERTON (filling a glass from the tankard on 
the table and raising it to her lips) — To "Twelfth Night," 
good Will. (And turning to Raleigh) Ah, Sir Walter, 
know you not fate ? 

SIR WALTER (mollified) — Which has made me a strange 
tale. 

LADY YLVERTON— You never saw your ward. But 
come to-night to Ylverton House, Strand, and you shall see 
her. And (to the players) you, gentlemen, call an hour 
after about the matter we have discussed, — which, if you 
can make it, will be eight o'clock. 

CURTAIN 

SCENE II. — (The same, the same evening, but brilliantly 
lit, and arranged. Dame Shepperton, in a flowered gown. 
And Darby, and Patch, — in livery. Lady Ylverton in a 
Court gown.) 

DAME SHEPPERTON— Beautiful. Ylverton lives 
again. Yet it is seemly that My Lady should have a duenna. 
And why not I? In King Henry the VIII. 's time we Shep- 
pertons were gentlefolk. 

LADY YLVERTON (kissing her)— You look like a dear, 
Dame, — like a fine bird of Spring. 

DAME SHEPPERTON— At my years! I have heard 
the Earl, your Father say, — and he had learning. — that Love 
was a blind person. 

LADY YLVERTON— A blind young person. Dame, who 
wore a handkerchief over his eyes, lest their glow drive all 



22 THE LADY OF THE BLACKFRIARS 

the World mad. Am I mad? Ah, the knocker. (It clangs 
and gong sounds.) Darby, a guest. Am I mad, — who must 
be found out, — to be in one both brother and sister? — lest the 
Queen send Countess Ylverton to the Tower, and take this 
good house away. 

DARBY (at the door) — Lord Wimbledon. 

WIMBLEDON (advancing) — I was sent on before. 

LADY YLVERTON— My brother was called away. So 
I receive you. But I miss Sir Walter Raleigh, my guardian. 
Dame Shepperton, my companion. 

(The Dame makes a deep curtesy.) 

WIMBLEDON— I believe Sir Walter follows with the 
Queen. 

LADY YLVERTON (faintly)— With the Queen? 

WIMBLEDON— Madam,— what's the matter? 

LADY YLVERTON— Some wine. Dame. 

DAME SHEPPERTON— Quick, Darby, a glass of wine. 

LADY YLVERTON (taking the wine)— Pardon. The 
excitement of the day. I think I am better. Thank you, 
Darby. Her Majesty comes to me instead of summoning me 
to Court ? 

WIMBLEDON — Her Majesty is curious to see the heir 
of her great house of Ylverton in his own mansion, — to 
establish his claim beyond peradventure. 

LADY YLVERTON (dully)- Beyond peradventure? 

DARBY (at the door)— Her Majesty, the Queen of Eng- 
land, Sir Walter Raleigh, and the Court. 

(Elizabeth, impulsively departed from a function at White- 
hall, sweeps into the room, a Marchioness bearing her train, 
followed by Sir Robin, Julia. Raleigh, and others.) 

DAME SHEPPERTON (awed)— Kneel, Madam,— 
kneel ! 

LADY YLVERTON (with a deep curtesy)— My house 
has honour to-night beyond all other houses in England. 



THE LADY OF THE BLACKFRIARS 23 

ELIZABETH (to Raleigh)— Hast thou hid this jewel? 
I'll gibbet you for this, sir. You are very beautiful, Countess 
Ylverton, and the richest heiress of England. 

LADY YLVERTON (curtesying)— Your Majesty's words 
are sweet to me. 

ELIZABETH— But the Earl, your brother? 

LADY YLVERTON— Has departed. 

ELIZABETH— Produce him! Produce him! 

LADY YLVERTON— May I myself run to see if he be 
returned? 

QUEEN ELIZABETH— Why not send a servant? 

LADY YLVERTON— With Your Majesty's permission, I 
will seek him myself, — lest hastily returned, — if he be re- 
turned, — he may not be properly attired for the Majesty of 
England. 

(And without waiting denial, she runs out, right.) 

ELIZABETH— These Ylvertons defied my Father, King 
Henry. This girl must have a Lady over her. I appoint 
you. Lady March. But why does she not return? (After 
a long pause) Send for her. Shall England wait for her? 

(Lady Ylverton enters at last, dressed in courtier's cos- 
tume as Earl Ylverton.) 

LADY YLVERTON (as the Earl)— Your Majesty's par- 
don, I had no expectation of this honour. 

ELIZABETH— Ah, thou art a handsome fellow. And 
like sister, — like brother. Sir Walter, the tale is true. He 
bears his birth, — if it be legal. Have you birth certificates, 
my Lord? 

LADY YLVERTON— Madam, I shall prove who I am. 

ELIZABETH— But the girl, your sister? 

LADY YLVERTON— She is taken sudden ill. 

LADY MARCH — The excitement, — the great honour, — 
have overpowered Her Ladyship. Her Gracious Majesty 



24 THE LADY OF THE BLACKFRIARS 

has appointed me to attend her. And I beg Your Lordship 
to show me her apartment. 

LADY YLVERTON— No, Madam, I prefer not. 

ELIZABETH— It's my order. 

LADY YLVERTON— Your Majesty shall be obeyed in 
all things, but not in this. 

ELIZABETH — You dare me, sir. (But her manner 
softens. She extends her hand, which Lady Ylverton 
kisses.) His Lordship is right. Lady March. A Lady who 
is indisposed is best with old attendants. Come, my Lord, 
with me to Whitehall. Thy face, — the face of thy twin 
sister, — is thy birth certificate. The noble house of Ylver- 
ton shall rise again in Tudor right. 

JULIA— LADY FITZMAURICE (whispering). A new 
favourite. 

LADY YLVERTON (faintly)— A boon? 

ELIZABETH— Ask. 

LADY YLVERTON— That I may first speak with my 
sister. 

ELIZABETH (simply)— We will wait, sir. 

(Lady Ylverton goes out right. The Court whisper, titter 
and chatter. But Elizabeth now waits patiently. Presently 
Lady Ylverton, attired as a Lady, enters very slowly and 
humbly, right.) 

LADY YLVERTON— Your Majesty, I am Ino Ylverton. 
There is no Earl, my brother. It is but I. I, Countess 
Ylverton and Severn. You left me neglected. Can you 
blame me? But I blame you not. I was left freedom, — 
freedom, — these ladies of the Court never knew. 

ELIZABETH (in awe)— Lady Ylverton! We leave this 
house, Sir Walter. The estates of Ylverton shall be admin- 
istered as they have been by the Queen's stewards, and by 
yourself, — unti Ithis girl is married. I withdraw your appoint- 
ment. Lady March. My Lord of Wimbledon shall woo her 



THE LADY OF THE BLACKFRIARS 25 

this night, and shall marry her this week fortnight. Such 
a girl needs a husband. Come, I have kept his French 
Majesty's envoy waiting because of this matter. 

(The Queen and escort sweep out rear, leaving Wimble- 
don.) 

WIMBLEDON (advancing to Lady Ylverton)— I love 
Your Ladyship. 

LADY YLVERTON— Love is cool. 

WIMBLEDON— I know not well what to say. 

LADY YLVERTON— Love is not warm, say I. Why 
say it? 

WIMBLEDON— I am bidden to say it. 

LADY YLVERTON— If I fall into your arms, I shall 
scratch your eyes out. 

WIMBLEDON— Don't, I entreat you. But it's proper. 

LADY YLVERTON— To fall into your arms. Ah me, I 
warn you, should I be forced to marry you, I shall make the 
Queen divorce you. I love you deeply, — as deeply as a shal- 
low pool that holds no fish. 

WIMBLEDON— I will come this day fortnight. 

LADY YLVERTON— Oh, the ceremony! Then get you 
to France or to America, — where Spaniards kill, — out of my 
sight. 

WIMBLEDON— I will call to-morrow. 

LADY YLVERTON— I shall be in the country. 

WIMBLEDON— Your Ladyship, I will call, when I may. 
(Goes out rear.) 

PATCH (at the same rear door) — The players. Lady, — 
the players you bade call at this hour. 

LADY YLVERTON— Oh, I had forgot. Show them in. 

(Shakespeare and Burbage enter rear.) 

SHAKESPEARE (in astonishment)— My Lord! 

LADY YLVERTON— My Lady. 

SHAKESPEARE— One is two. 



26 THE LADY OF THE BLACKFRIARS 

LADY YLVERTON (laughing)— Or two is Countess 
Ylverton. 

SHAKESPEARE— I understand. 

LADY YLVERTON— Good Will— sweet Will— that is 
all, — that is more than all, — you understand. 

CURTAIN 



ACT III 

The Flozver Girl of Blackfriars 

SCENE /.— (A playhouse, The Blackfriars, Blackfriars. 
On right a raised stage, where the Players are arranged for 
a production of Henry IV. It is surrounded by the balconies 
in the old Inn way. Before this seats of the pit, the outer 
ones exposed to the sky. In the background, Thames — stairs, 
the Thames, and towers and roofs beyond the river. Barges 
are seen passing on the river. Spectators are beginning to 
p gather for the Play, — some fops taking their seats at the 

I edge of the stage. There is an apple and orange girl, and 

f a Flower Girl. Shakespeare and Burbage are talking on 

k the stage. In the audience are Julia and Sir Robin.) 

! 

JULIA — So she has divorced Lord Wimbledon. 
. SIR ROBIN— With whom she never lived. She is the 
Queen's favourite; the Countess Ylverton's whim, — the 
Countess Ylverton's wish, — seems Elizabeth's law to-day. 
But what have we here? 

(Lady Ylverton, attired in blue, with a basket of roses on 
her arm, followed by Bartholomev/, Patch, and Darby in her 
livery.) 

THE FLOWER GIRL (observing her, springs toward 
her) — She would strip me of gallants. 

(A tumult. The Flower Girl, followed by a crowd, tips 
over Lady Ylverton's rose basket. Shakespeare leaps from 
the stage. The crowd separates before him. He picks up 
the roses.) 

27 



28 THE LADY OF THE BLACKFRIARS 

SHAKESPEARE (restoring the roses to the basket) — 
Your merchandise. 

LADY YLVERTON (extending a purse)— Take this 
purse to Doll (extending Shakespeare a rose.) For good 
courtesy, sir, a rose as red as ever Lancaster's, and I find 
no white for the war. 

BURBAGE (from the stage) — Your eyes and ears for the 
pomp of England, and Harry on Gadshill ! 

A PLAYER (recognizing Lady Ylverton) — All hail our 
Gracious Patroness, Ino, Countess Ylverton and Severn, — 
the Lady of ourselves, — the Black Friars. 

THE CROWD— The Lady of the Black Friars ! 

LADY YLVERTON (advancing, and addressing the 
players) — The play is my mood and my pleasure. So I do 
not demean myself by coming here a-playing, as your serv- 
ant, — as your flower girl. Let the great know that the great 
shall find England's glory, her Play. Ah, I have stopped the 
Play. I must be gone. My thanks, Master Shakespeare 
(who has given Doll, the Flower Girl, the purse.) To you. 
Gentlemen, may you have fewer hisses, and more heartfelt 
applause. Let all folk know that of a day Countess Ylverton 
came as Flower Girl to the Blackfriars. I wish you well, 
ril stop you no longer. And to Her Majesty who desires 
my opinion of certain plays, for her information, I will say 
what I may say. Adieu, my friends of the Play. 

THE PLAYERS— The Lady of the Play! Our most 
Gracious Patroness the Lady of the Black Friars ! 

(Lady Ylverton throws her blue cloak over her face and 
hair, and goes out toward Thames stairs, followed by Darby 
and Patch. At the stairs she takes a barge. Bartholomew, 
her page, remaining behind, approaches Sir Robin.) 

BARTHOLOMEW (to Sir Robin)— You are friend of 
another who has made verses My Lady delight in? 

SIR ROBIN— All of that. 



THE LADY OF THE BLACKFRIARS 29 

BARTHOLOMEW— All of that. Could not I play a 
maid in some play ? 

SIR ROBIN— That you might. 

BARTHOLOMEW— I would please My Lady who is mad 
over mad capering, and who believes Dan Cupid a poet in- 
stead of a soldier and nobleman, — who needs must run away, 
— needs must fall in love, — not with those that love her, but 
with some verse-maker, — whose true love is the Moon, — that 
is to say Diana, who leads her lovers a cold dance. Now 
she wills you to fetch this same Master Shakespeare, — a 
plain man to me, — who like you, sir, have seen the noblest 
gallants, — and with you, because two gentlemen defend a 
Lady, and one bewrays her. 

SIR ROBIN (calling to Shakespeare)— Master Will, a 
Lady so high that she dares to masquerade to attract your 
eye, sends this word by her page : — " Come, Will, your heart 
I would see." 

SHAKESPEARE — It is well to go in company, and you 
are as honest and indiscreet as men are made, Sir Robin. 

(Folbwing Bartholomew they go out toward Thames 
.stairs, while the audience direct all their attention to the 
mimic stage where the first act of Henry IV. is opening.) 

CURTAIN 



ACT IV * 

The Queen's Poet 

SCENE I. — (The interior, as in Act II, Ylverton House, 
Strand. The Queen and Lady Ylverton reading to her. A 
lute and books on a table. Enter, rear, Bartholomew with 
Shakespeare and Sir Robin.) 

THE QUEEN (to Shakespeare) — This Lady loves you 
well, — a mad-cap, well-read in Greece and Rome, — and she 
assures me that none writes better as a player of Lord 
Hunsdon's players than yourself. 

LADY YLVERTON— And that is yourself,— yes, your- 
self. 

THE QUEEN — I may not knight you ; for there are stern 
lords who would hold the Queen a politician. Nor would 
I spoil so able a poet, — as I hold you. For I know you, — 
your Queen reads the books that please her Londoners. 
(And three of yours I have censured.) Know you, sir, I'd 
not spoil so good a poet. For good poets are as children, and 
will devour too many sweets. But what may I do for you? 

SHAKESPEARE (after a moment)— I owe My Lord of 
Southampton some thousands of pounds. Madam. Not that 
His Lordship urges me. 

THE QUEEN (taking a ruby from her finger) — Lord 
Southampton is rich and able. Let that suffice. (She hesi- 
tates, and then in a low voice) There was once a Lady and 
Queen of this realm, — who suffered greatly. Could you 
make a play of Queen Anne, my Mother? 



THE LADY OF THE BLACKFRIARS 31 

SHAKESPEARE— I cannot write, Madam. 
THE QUEEN (with light laughter)— You mean that I, 
displeased, might have your head, or that the subject trembles 
in you. Ah, but you will? (Shakespeare is silent.) Amuse 
and teach these Londoners. But let no man know you have 
had speech with your Queen. 

LADY YLVERTON— But with me, Madam. 
THE QUEEN— But with you, as light as his own Italy. 
LADY YLVERTON— As earnest, Madam. His Italy is 
tragical. 

THE QUEEN— Then I will venture that Master Shake- 
speare loves no woman but the good wife in Stratford. 

SHAKESPEARE— All women. Madam, and the Queen of 
England. 

LADY YLVERTON (taking the lute from the table, 
sings to it.) 

Sing of the World. 
And sing of the Song. 
Sing of the men; 
And sing of the wrong. 
Love is a fineness. 
Love is a niceness. 
Love is a feather. 
Love is like zveather. 
Oh, hut I love none. 
Yet shall I love some. 
THE QUEEN (rising and to Sir Robin) — Sir Robin, at- 
tend me to my coach ! Fare thee well, Master Shakespeare. 
Lady, I crave your presence at Court in two hours. 

(Lady Ylverton curtesies. The Queen goes out accom- 
panied by Sir Robin.) 

SHAKESPEARE— Oh, Lady, you have brought me 
speech with Her Majesty! 



32 THE LADY OF THE BLACKFRIARS 

LADY YLVERTON— I? Why should it be I? Who 
love you? 

SHAKESPEARE (as if in revery)— I know not,— I know 
not. 

LADY YLVERTON— Your play,— your verse,— your 
lines, — your wit, — yourself. Go, sir ! I am a-tired, — as 
weary as Mariana in the Moated-Grange. The World is 
fair to young maids, — and lovers " near-her-heart " some- 
where near. But you, Shakespeare, Poet of a Play, shall 
love and sigh for me another day. Nor no day at all. But 
I like you well, sir. And now, — good-day. Bartholomew, 
our guest will have the door. 

(Bartholomew at the door.) 

CURTAIN 



ACT V 

The Roses. How Lady Ylverton Came to Stratford Church. 

SCENE /.—(The interior Stratford Church. An opening 
in the flagging where Shakespeare has been buried. Some 
players, — some rustics, and Sir Robin.) 

FIRST RUSTIC— He was a mighty man in Lunnon. 

SECOND RUSTIC— I hold this play-book making be 
impious. 

FIRST RUSTIC— He, most probable, has gone to Hell. 

SECOND RUSTIC— Yet was he a good neighbour in 
Stratford, — that may excuse him. 

(Enter an old woman, leaning on a long thorn staff, taller 
than she is. She approaches the opening in the flagging.) 

OLD WOMAN— But he is not here. 

SIR ROBIN (suddenly turning)— And where is he? 

OLD WOMAN (in a sweet, strong voice)— With the 
fairies of England, where he ever is. 

(A sudden darkening of the church, — thunder and light- 
ning. The storm passes as suddenly as it came. The church 
lights up, and the yellow sun enters the chancel. But the 
old woman on the thorn staff is gone.) 

FIRST RUSTIC— The old woman departed sudden. 

SECOND RUSTIC— Hush, mon, she be the Queen of 
fairies, — my Grandsire saw her once. 

(Enter the Lady Ylverton, — as if from the saddle, — her 
arms filled with roses. Bartholomew follows, as if from the 
saddle. She perceives Sir Robin and addresses him.) 

LADY YLVERTON— Where is he? 

SIR ROBIN (dully)— In the church. 

LADY YLVERTON— Or under the church. 



34 THE LADY OF THE BLACKFRIARS 

(She leans forward over the open flagging. Then kneels 
on her knees over it. She drops a rose into the opening.) 

LADY Ylverton — This for Thyself. This (dropping an- 
other rose) for the Play. And this (dropping another rose) 
for Love, — ivho is a god. 

A Song: 

He zias of Venus' Players and the Sun's 
Who pass in chariots from the Sun to Earth. 

CURTAIN 



BY THE AUTHOR OF 

"The Scarlet Coat: A Tale of Yorktown." Duffield 
& Co. 
' " Chalmette." J. B. Lippincott Co. 

" The Meddling Hussy ; " Fourteen Tales Retold from 
Scrihner's, Harper's Weekly, McClure's, N. Y. Sun, etc. 
Duffield & Co. 
, " A Trooper of The Empress." D. Appleton & Co. 

A TALE OF A CAPITOLENE VENUS. 
ANNOUNCEMENT: 

BATTLE TALES:— A Book of Eight Tales of the Re- 
volution and the Spanish War of 1898; A Traveller's Tale; 
and The Lass of New Wye. 

THE RED BIRD: A Novel and a Play. 
' CAPTAIN NATHANIEL GOODHOPE; King's For- 
ester, — A Tale of the Indian Life on Chenango. 



I 



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